For me, sentences feed voice and voice feeds character and character feeds plot. I’m one of those people who really doesn’t care what happens in books I’m reading, only how things happen. Prose is always what attracts me, plot almost never. Kimberly King Parsons Thanks for saying that-I’m definitely a sentence writer (and a sentence reader) first. Could you talk about how you approach the sentence as a unit of fiction building? There’s a popular school of writing advice that says the writer should only care about character and story, not prose, which has always struck me as being like a painter saying they don’t care about the colors of the paint on their palette. Lincoln Michel First off, can I say what a pleasure it is to read a book that’s so deeply invested in the sonics of sentences. It’s the kind of book that will break your heart while reminding you of the lush possibilities of language. Stories of heartbreak and humor, lust and friendship. Light pours from careful limpers in the streets, from the wheezers and wet coughers who stop right in front of me to twist out their lungs." The belief that sentence-driven stories are cold and unaffecting is certainly not the case with Black Light. Her debut collection, Black Light(Knopf), announces its attention to sonics and lyricism from the opening lines of "Guts," the first story in the collection: "When I start dating Tim, an almost-doctor, all of the sick, broken people in the world begin to glow. Kimberly King Parsons knows how to write a sentence.
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